The New York Times' Scores

Select another publication »
For 20,271 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 4.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Short Cuts
Lowest review score: 0 Gummo
Score distribution:
  1. Positive: 9,377 out of 20271
  2. Mixed: 8,430 out of 20271
  3. Negative: 2,464 out of 20271
20271 movie reviews
view
per page
  1. Ride the Eagle
    "Where do these people get their money,” I wrote in my notes as Leif and his dog set out for a long drive at the film’s fade-out. Doesn’t matter. Nor do the multiple clichés. In Ride the Eagle, the laid-back vibe is all.
  2. Stillwater
    It’s clear that Damon and McCarthy have thought through this man in considered detail, from Bill’s plaid shirts to his tightly clenched walk. The character looks as if he hasn’t moved his bowels in weeks; if anything, he feels overworked, a product of too much conceptualizing and not enough feeling, identifiable humanity or sharp ideas.
  3. Jungle Cruise
    Jungle Cruise is less directed than whipped to a stiff peak before collapsing into a soggy mess.
  4. The Year of the Discovery
    If the convoluted history and corresponding formal conceits are difficult to absorb, that is part of the point.
  5. Playing with Sharks
    Playing With Sharks would like to position Valerie as both intrepid diver and valiant activist, but with its focus on thrills and gills, the film goes light on the context needed to reconcile these two identities.
  6. Stuntman
    There’s something morbid about a world where a brave man is more scared of financial, than physical, risk. But that’s a leap this doc can’t take.
  7. Woodstock 99: Peace Love and Rage
    Much of the footage is hair-raising, especially the women being groped and the mobs of young white men whipping themselves into a frenzy of aggressive stupidity, aimless anger and turbo-boosted misogyny. This is these dudes’ coming-of-age as an aggrieved demographic, and it’s frightening.
  8. Broken Diamonds
    The movie treats illness as a series of contrivances, an engine that keeps the plot pistoning forward, and the result of this approach is a film that feels lifeless, or worse, reductive.
  9. Charlatan
    Often as thorny as its subject but also oddly fascinated by his near-magical abilities, “Charlatan” is a temporary cure for the common biopic.
  10. Settlers
    Settlers purports to challenge violence against women and colonialism. Instead, the female protagonist wallows in powerlessness for most of the movie, and a boxy robot is ultimately presented as more sympathetic than a displaced brown man.
  11. Eyimofe (This Is My Desire)
    The portrait of life that emerges organically from this understated, observant approach makes Eyimofe the rare social realist drama that conveys critique without didacticism and empathy without pity.
  12. Midnight in the Switchgrass
    The atmosphere is thoroughly sleazy without being distinctive, and everything about the movie — the emotionless line readings, the half-baked back stories — exudes a terse functionality.
  13. Val
    More a self-portrait than a profile, Val tells the story of a Hollywood career with a candor that stops short of revelation. The tone is personal but not quite intimate, producing in the viewer a warm, slightly wary feeling of companionship.
  14. How It Ends
    The film plays as a series of perfectly enjoyable sketches strung together, an excuse for veteran actors to chew on playful dialogue.
  15. Jolt
    The plot, stretched thin even at just 90 minutes, is extremely predictable, and therefore boring, and the film doesn’t do enough with its high-concept shock-therapy conceit to feel fresh or novel.
  16. Mandibles
    Mandibles is sweet, simple, and oh-so-very stupid — a stupidity that’s oddly liberating, like making up ridiculous scenarios with a pal over bong hits.
    • 77 Metascore
    • 90 Critic Score
    Ailey
    Like Ailey’s dances, the documentary leaves you swimming in sensation.
  18. All the Streets Are Silent: The Convergence of Hip Hop and Skateboarding (1987-1997)
    The film excels when it harnesses the wistful thrill of a bygone era, reminding us of a rich, creative past that deserves ample recognition.
  19. Last Letter from Your Lover
    In short, it too efficiently glosses over multiple plotlines to have much of an emotional impact. What remains are mostly generic beats. Still, the formula is engrossing enough, and its midcentury vintage appeal — the pillbox hats, headscarves and swanky soirees — is particularly seductive.
  20. Old
    Shyamalan’s fluid filmmaking style, outstanding features of which are an almost ever-mobile camera and a bag of focus tricks, serves him especially well here.
  21. Snake Eyes: G.I. Joe Origins
    For an ostensible action hero, Henry Golding in the title role does an awful lot of standing around and looking tense. The mayhem is frantic yet forgettable.
  22. The New Bauhaus
    It is a good primer, well illustrated.
  23. Toofaan
    In Toofaan, the Bollywood director Rakeysh Omprakash Mehra attempts — with some success — to deepen the standard-issue sports drama with sociopolitical strife ripped from Indian headlines.
  24. The Works and Days (of Tayoko Shiojiri in the Shiotani Basin)
    The movie reflects upon how people organize experience through our memories and our actions, but the filmmakers also have a self-awareness about their steadfast methods.
  25. The Hidden Life of Trees
    The documentary The Hidden Life of Trees uses the sensorial capacities of cinema to thrillingly visualize Wohlleben’s observations.
  26. The Boys in Red Hats
    Between a bro-friendly voice-over and “TMZ Live”-style bull sessions with his producer, Schroder’s exploratory pose comes to feel exasperatingly clueless. Yet the film also assembles soothingly sharp commentators who lay bare the power and race dynamics and aggression at play in the Lincoln Memorial encounter.
  27. No Ordinary Man
    This is a respectful tribute that is a shade too morally and cinematically safe in its execution.
  28. Can You Bring It: Bill T. Jones and D-Man in the Waters
    The intercutting between vintage footage of the Jones/Zane company and the student production, as well as footage from another contemporary production of the piece — shot with an onstage intimacy that recalls the in-the-ring segments of Martin Scorsese’s “Raging Bull” — make for an unusually lively documentary experience.
  29. Fin
    There is little here that was not already tackled in Rob Stewart’s 2007 documentary “Sharkwater,” nor in the more recent, less artful “Seaspiracy.” Though where Stewart painstakingly explained the beauty, intelligence and importance of sharks, Roth would rather that we love these animals simply because he does.
  30. Mama Weed
    The list of charges against this watery café au lait of a crime caper is extensive — wearisome ethnic stereotypes, cop-movie clichés, awkward pacing, a labored plot — but the chief transgression is that it wastes the time and talent of one of the supreme screen actors of our time.
Page:

Top Trailers

See all »
See all trailers »